d1t01 - Bertha ->
d1t02 - Greatest Story Ever Told
d1t03 - Bird Song
d1t04 - Beat It On Down The Line
d1t05 - They Love Each Other
d1t06 - Me & My Uncle ->
d1t07 - Big River
d1t08 - Brown-Eyed Women ->
d1t09 - Let It Grow
d2t01 - Scarlet Begonias ->
d2t02 - Fire On the Mountain
d2t03 - Playin' In the Band ->
d2t04 - Drums ->
d2t05 - Space ->
d2t06 - The Wheel ->
d2t07 - The Other One ->
d2t08 - Black Peter ->
d2t09 - Sugar Magnolia
d2t10 - US Blues
Bill Koucky contacted me and wanted me to try and matrix this sick but
relatively unknown show because neither source really did it justice. I
said I'd give a whirl and sure enough the mix turned out to be a big
improvement. The Oakland Auditorium Arena later became the Henry J. Kaiser
Convention Center so this nice FOB sounds great when coupled with a so-so
SBD which needed much digi snit removal (thanks Chris Ladner) which I used
for set 1 - the second set I used was the Clugston source but there is
nothing in the db, so it is unclear if Scott remastered the problematic
Bruce Fried source or got it somewhere else. Bill K's 1st gen FOB from
Steve Aldeman that he duped 23 years ago serves as an excellent AUD source.
The first set is on fire with Garcia constantly trying to slow things
down in his song selection (Birdsong as the 3rd tune?!! and TLEO is quite
spirited) but he finally gives and cranks out a ripping Brown-Eyed so Weir
can stretch out on a monster Let It Grow. Second set opening with Scarlet >
Fire is big and groovy, and the Playin' that follows has Jerry referencing
the Woody Woodpecker theme (4:57). The whole show is played well, no big
surprises, just good ole Grateful Dead.
On the FOH side of things Healy seemed to be playing with a short delay
effect (15ms or so) for most of the first set on both Garcia's guitar
and all the vocals. It is very noticeable in spots, especially on Garcia's
solo in Bertha and the vocals in BIODTL. The result is a flange effect
which some might misconstrue as bad synching, but let it be known this is
how it sounded in both sources and is not the result of the matrix.
Thanks to Steve Aldeman for recording the AUD, and to Bill Koucky and
Chris Ladner for transfering, encoding and remastering both SBDs and the
AUD source. Thanks to Scott Clugston for the mystery SBD II source, and
to Dr. Bruce Fried for the SBD I source.
Special thanks to Bill Koucky for motivating me to matrix this wonderful
yet obscure show (even the LlaMA doesn't have anything for this date).
Set 1: Both sources were not very close in pitch. The SBD had to be
pitched down between 53 and 59 cents, while the AUD had to be pitched down only
Set 2: The SBD was relatively close in pitch so I left it as is and
pitched the AUd down about 50 cents.
Because of the speed fluctuation within a given source, multiple edits
were performed to keep the sources synched. Since the AUD was my
master pitch and time ref, the SBD was synched to the AUD (too many
edits to list).
- Sonic Quality/Matrix ratio
No EQ was applied to either of the two sources. I applied very sparingly
Waves L2 (limiter) to the master 2 buss to keep things contained, the
levels rarely hitting zero, thus the limiting is quite scarce. All I was
trying to do here is to add some dimension to the SBD by using the
ambience of the AUD. The result is a lively but clear recording, hopefully
close to how it sounded at the show. If I had to guess the SBD/AUD ratio
would be somewhere between 2.5:1 and 2:1.
The following are places where the SBD and AUD had splices, holes or
incomplete coverage in reference to the final matrix timeline.
d1t01 (0:00 - 0:14) - missing (tuning)
d1t01 (0:14 - 1:11) - multiple volume moves to smooth out levels
d1t01 (1:39) - feedback - minimized on both sources
August 31, 2009 Subject:
Another great Chappell mix...
I have been checking out all of Chris Chappell's "Sick Bits" mixes, and I have been consistently really impressed. I wish every show could be heard as a Aud/SBD mix. Love it. Would love to see what could be done with 2/3/79, another relatively unheard gem.
This is a wonderful show! Despite the brilliance of Manor Downs, I actually feel more comfortable with the Scar-Fire here: more homey and heart-felt, to me, less tweaky. Lovely. Like the earlier reviewer says, Garcia playing like he is committed to every note.
October 30, 2008 Subject:
Bobby Gold Wings
Well I just listened to the last half of the second set (whole show actually), and it just keeps getting better. Overall this show has a few things going for it... a great tribal Fire, Brent, Bertha opener, engaging drums, strong finish, an inspiring wheel. This is one of those shows that won't make you loose your head, you'll appreciate it more. The sunshine daydream portion of Sugar Mags is rip snorting wonderful. Bob prooves he can wail Donna back into the stone age. Just classic stuff in the end here. US Blues is that run down the road and wake up the neighbors to tell them how wonderful the world is good.
June 6, 2008 Subject:
this is a good one
i got through space and the opening notes of Wheel and had to write a post. great sounding show, great mix. i'm going to continue going thru the sick bits shows, 9-19-70 is sick too...thanks Chappy. crystal clear vocals and the previous poster is right about jerry and his trademark ability to play every individual note to perfection listening to the dead on LMA is the only time i wish i was older...or at least had jumped on the bus thru the 70's. 90's dead is great and i have my own memories (age 34) but this old stuff is filthy
January 30, 2008 Subject:
This is one of the 82s that has held up for me on countless replays. It's got that subtle polyrythmic swing thorughout. The versions of Bertha, Greatest, Birdsong, BEW, and Let It Grow are winners. Like the Greek '81 show, the Scarlet-Fire is a classic west coast version, taking their time to develop things fully without that rushed, need-more-drugs edge that you sometimes get in the early 80s. Esp. in the Scarlet Fire, Garcia has total commitment to his solos, each note opening out and evolving into the next with energy and purpose. Bobby and Brent are connected at the waist with an intricate "splashy" sound at times. Sure, you can simply call this Good Old Grateful Dead, but 82 was nothing if not squeaky tight, and during the first two thirds of this show, they are focused. I begin to lose interest with the fast version of Playin, but I treasure the rest of the show. Thanks for the upload.